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Updated: April 30, 2025


Of the six "Idyls," three "In the Woods," "Siesta," and "To the Moonlight" are memorable, though uneven; and of these the third, after Goethe's "An den Mond," adumbrates faintly MacDowell's riper manner. The "Silver Clouds," "Flute Idyl," and "Blue Bell" are decidedly less characteristic.

Within a compass of two hundred pages it proclaims unequivocally the existence and oneness of a personal God, unknowable, inaccessible, the source of all Revelation, eternal, omniscient, omnipresent and almighty; asserts the relativity of religious truth and the continuity of Divine Revelation; affirms the unity of the Prophets, the universality of their Message, the identity of their fundamental teachings, the sanctity of their scriptures, and the twofold character of their stations; denounces the blindness and perversity of the divines and doctors of every age; cites and elucidates the allegorical passages of the New Testament, the abstruse verses of the Qur’án, and the cryptic Muḥammadan traditions which have bred those age-long misunderstandings, doubts and animosities that have sundered and kept apart the followers of the world’s leading religious systems; enumerates the essential prerequisites for the attainment by every true seeker of the object of his quest; demonstrates the validity, the sublimity and significance of the Báb’s Revelation; acclaims the heroism and detachment of His disciples; foreshadows, and prophesies the world-wide triumph of the Revelation promised to the people of the Bayán; upholds the purity and innocence of the Virgin Mary; glorifies the Imáms of the Faith of Muḥammad; celebrates the martyrdom, and lauds the spiritual sovereignty, of the Imám Ḥusayn; unfolds the meaning of such symbolic terms asReturn,” “Resurrection,” “Seal of the ProphetsandDay of Judgment”; adumbrates and distinguishes between the three stages of Divine Revelation; and expatiates, in glowing terms, upon the glories and wonders of theCity of God,” renewed, at fixed intervals, by the dispensation of Providence, for the guidance, the benefit and salvation of all mankind.

His exhibition of his enemy Lord Dannisburgh, is of the class of noble portraits we see swinging over inn-portals, grossly unlike in likeness. The possibility of the man's doing or saying this and that adumbrates the improbability: he had something of the character capable of it, too much good sense for the performance. We would think so, and still the shadow is round our thoughts.

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